Concurrent with the exhibition of their installation “stay” (2017), the four artists comprising The Sine Wave Orchestra — Ken Furudate, Kazuhiro Jo, Daisuke Ishida, and Mizuki Noguchi — will discuss their individual practices, both in art and academia, and interests which encompass a diverse range of subjects including acoustics, contemporary and time-based media, minimalist aesthetics, practice- based research, the expressive dimension of recent technology, the perception of sound, and new perspectives on spatialities.
They will also talk about the history of The Sine Wave Orchestra: its genesis, philosophy, methodologies, and previous multimedia installations and other projects. Lastly, the four will discuss their work “stay” (2017), its conceptualization, iterations, and manifestations. The SINE WAVE ORCHESTRA (SWO) was launched in 2002 by Ken Furudate, Kazuhiro Jo, Daisuke Ishida, and Mizuki Noguchi as a project that works exclusively with sine waves.
The WSK Feedback Forum functions as the platform's critical feedback mechanism configured towards the articulation of practices and communities, the encouragement of historiographic and critical methodologies to consequently spark innovation and new directions.
The previous edition of WSK Feedback Forum last 2017 focused on sharing oral histories and ongoing research projects within the networks we are part of. The first forum featured personal accounts from our peers: artists who are also important organizers like Kok Siew Wai and Kim Ngoc. Among the presentations’ topics include the history of sound art in Japan, noise in Indonesia, and the expanding intersections of experimental music in Singapore. More importantly for the Philippines, we also recorded a panoply of oral histories from different generations of artists, who were involved in various moments and scenes, around the archipelago, concerning their respective practices as well as those of their peers.
The 2019 edition of the forum, in collaboration with Nusasonic, takes a critical look at both historic and contemporary sound cultures particularly through issues of representation and discrepancies of power in worlds outside the West. Given the fascistic turn within and without the Southeast Asian region since the last edition of the forum, the idea that sound and music is also currency and power — which can be harnessed to distract and/or pacify — is emphasized. Through six different panel presentations and discussions, we examine the aesthetics and politics of Philippine revolutionary music from the turn-of-the-century Katipunan era, to agit-folk and proletariat punk, to recent activist hip-hop; we unpack gendered artistic and musical expressions, institutional sexisms and racisms, as well as the tactics and networks we can tap to confront or circumvent them; we look back at composer ethnomusicologist Jose Maceda and argue how noise and Filipino Modernist art were co-opted and repurposed by the Marcosian state apparatus; we compare the differences and similarities between experimental music and sound art scenes in Asia and Africa, as well as the representational and ethical implications of their promotion in Europe in the throes of political correctness and identity politics; and lastly, we trace the emergence and impact of grassroots electronic dance music from the slums and borderlands of Southeast Asia.
The fora and its diverse topics are poised to spark more conversation and research, to un-map the region in order to challenge new geographies and connections, and to increase awareness of the aesthetic and political dimensions of sonic practices.